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No. 3.

and are calculated to create a doubt whether we here have a triple, a double (first and second theme) or a single fugue (with two antithetical movements, incidentally introduced and retained as it suits the composer's convenience).

The fact, however, of the counterpoint of the octave not being employed would of itself afford no proof as regards the form of the triple fugue, any more than that it does not appear to have been taken into account in the planning

The reader must imagine the last in F sharp major, or of the themes generally, as is especially apparent from

G sharp major.

sharp maior some suspicious intervals of a fourth, and an interval of a

(To be concluded in our next.) seventh with a tie underneath, which would give an in version in the octave :

MARIO AND PATTI.* Mario has returned at the appointed hour, and been received as a conqueror would not always be received! The house was crowded to the ceiling; crammed in every nook and corner ; such a night's receipts had never been known. The entrance of the charming tenor on the stage was the signal for a storm of applause which lasted for more than five minutes ; such a reception had never been seen before. When quiet was at length restored, Mario commenced singing, as we have often heard him sing, as if he were at home, with all his accustomed facility, grace, and abandon. Count Almaviva

did not appear to recollect that, the same week, he had, for an The consistent development of three characteristically dif. | instant, changed his costume. As it is not the cowl that makes

the friar, we must confess that the friar often runs a great risk in ferent themes would, even without the counterpoint of the

e adopting another dress. octave, be sufficient for a triple fugue. Still, on the one! The evening previously, it was another artist who played the hand, the important introduction, and, on the other, the part of Almaviva. What must Rosina have thought on finding near relation, together with, subsequently, the “step- herself, in the course of only two days, in the presence of two motherly” treatment of the two subordinate themes, are different Lindors? Malle. Patti was Rosina on both occasions. quite sufficient to keep up the doubt expressed above.

On Saturday, she had Gardoni, and, on Sunday, Mario for a lover! While, when we examine into things more nearly, the

the | What inconstancy! After all, it is the management which is

responsible; Doctor Bartolo's ward only did her duty. In this counterpoint leaves us in the lurch--where, at the first |

third part, which she tried after the Sonnambula and Lucia, Malle. glance, we thought we were most certain of it-we find it Patti was

Patti was no less applauded and no less remarkable than in the ener rctically and admirably employed in several simple two others. She had only to give herself up to all her vivacity, figues of the Clavier bien tempéré. That the C minor all her intelligence; she had only to yield to her instinct as an Fugue, No. 2. and the B Fugue. No. 21. of the First Part. | actress and a singer. Nothing is more easy for an artist of her are foimnded upon this kind of counterpoint. has been | age, her figure, and her character, than to identify herself with prured with regard to the former and mentioned with the character of Rosina. We have seen Mad. Julia Grisi, though regard to the latter. But the C sharp major, also; of

somewhat less young, give it so naturally as to be accused of a

certain amount of exaggeration. This is the only fault with which the First Part, exhibits an extraordinarily fine specimen | Malle. Patti. also, can be reproached. Our French Rosinas have of the employment of triple counterpoint, which, with accustomed us to such calm revolts, such moderate accesses of those cited above, would be well adapted to replace less passion, that Spain and Italy always astonish us by the freedom of excellent examples in our educational books. In this their demeanour. Conscientious amateurs wanted to know why fugue. both antithetical movements. of the second as well | Malle. Patti did not adhere to the literal text of her cavatinas and as of the third part. are several times retained while duets ? They desire, that, after the lapse of forty years every

thing should still be in precisely the same place, and they are right the parts are transposed in the octave whence this

over and over again ; but then Malle. Patti is not wrong in suppassage :-

posing that it is allowable to vary slightly what everyone knows by heart. Everywhere, gave in Paris, people are fond of new embellishments, and Mülle. Patti has served us as she has served others. We prefer to have the same things always given us; she will find no difficulty in contenting us.

For the singing lesson, she first sang Eckert's " Echos" (which was called for again), and then “La Calesera," a Spanish chansonette, rapturously encored, and repeated by the young and brilliant vocalist with an éclat and an effect of which no words can convey an idea. This evening, Il Barbiere will be repeated, and Mailile.

Patti will sing a piece which enjoys an immense vogue, and is occurz five times, and that, too, in the relations 1 2 3 entitled “Di Qioja insollta.” It is translated into French under the (twice), 1 3 2, 3 1 2. 2 3 1 (twice), with the evasion, there. | title of “Le Bal.” Its author is M. Strakosch, ber brother-in-law. fore, of the relations 3 2 1 and 2 1 3, which here follow ;

* Translated from the Revue el Gazette Musicale.

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What we said at the very frst, concerning the talent and the

MONDAY POPULAR CONCERTS." person of Adelina Patti, as well as concerning her future among The extra performance on Saturday, (the 8th of the present series), us, is in course of ronlisation. People may object to her for some for the Lancashire Relief Fund, was somewhat prejudiced by the small details; they cannot relish the combination of her natural | weather, which was cruelly unpropitious, and kept a vast number of endowments, which are so peculiar to her that nothing analogous the “shilling" patrons away ; nevertheless, the attendance in the stalls is to be found anywhere else. She possesses voice, expression, and was good, and we understand that upwards of 120 guineas will be confascination. In serious parts, she is perfectly simple and touching;

tributed. in comic ones, she may be a little too lively, but that belongs to

The programme was one of the best imaginable. Mozart's 6th her age; she will divest herself of it perhaps too soon.

quartet (in C major—from the Haydn set) formed the subject of a PAUL SMITH.

recent leading article in this journal. It is enough, therefore, to say

that it was played to perfection by Herr Joachim and his able coadMOLLE. TITIENS ("* on dit'') has accepted an engagement for the San

1 jutors, MM. L. Ries, H. Webb and Piatti. Herr Joachim has been Carlo, Naples. She leaves England very shortly to fulfil it, and will

| called “Beethoven's High Priest” and “Bach's High Priest ;” but is he not return till the end of March.

not equally Mozart's High Priest and Haydu's High Priest? “ AssureHERR Joachim lett London for Hanover on Tuesday evening-vii

ment" -as M. Théophile Gautier said to M. Victor Hugo on the Calais.

Boulevard Bonnes Nouvelles. The pianoforte Sonata was Beethoven's Exeten Hall-The enterprising Mr. G. W. Martin was not likely

delicious Op. 26, in A fat:to allow this week to pass without throwing out some such temptation

b to the music-loving public from all parts. With his “ National Choral Society" at hand, and four of our best oratorio singers disengaged, he was enabled to offer a performance of no ordinary attraction. Handel's Judas Maccabæus was a happy choice for more than one reason, and Mr. IIallé was in fine play, and the Sonata-the “ Marcia funebre sulla chiefly as containing airs in which Mr. Sims Reeves, tenor for the morte d'un Eroe" especially-pleased as it always does. Nevertheless, occasion, never fails to rouse his audience to enthusiasm. On Wed- faultless as the manipulation, we should have preferred the finule a nesday night the attendance was immense, and Mr. Reeves-which is little slower. It is marked allegro," not " presto," still less " presiissimo," invariably the case when he has to stir up the feelings of a crowd-sang | Herr Joachim's solo (this time accompanied by Mr. Benedict on the his very best. To say nothing of its companions, the famous “Sound fortepiano) was the allagio from Spohr's Ninth Concerto (D minor):an alarm” carried all before it, and was redemanded amid an uproar of cheering and applause. Seldom--never perhaps-has this inspiring piece of musical declamation been delivered more superbly. To Miss E. Wilkinson, who is making evident progress, was allotted the

Sec soprano part, which comprises three of Handel's most popular songs ("Pious orgies," "O Liberty," and "Wise men flatteriny'); to Miss Palmer-always correct and always impressive in sacred music,-the

Spohr introduces this and the Seventh Concerto of Rode (A minor) contralto; and to Mr. L. Thomas-one of the youngest, though by no

with a second violin part as substitute for the orchestral accompani. means one of the least talented, of our oraiario singers,—the bass.

ments, in his Great Violin School,* and remarks as to the style in Several of the choruses were given with equal spirit and precision;

which both should be played. He would like to have heard his own conand, indeed, with such a host of fresh and vigorous voices it could

certo played by Herr Joachim, who on the present occasion transported hardly have been otherwise, under the guidance of a resolute chief.

his audience with the alugio, and was called upon, viva voce, to repeat it. “O Father” (Part I.), and the irresistible " See the conquering hero"

Mendelssohn's Andante with variations in B flat, for two performers on (Part III.)--curtailed, by the way, of its preliminary trio for women's

one pianoforte (MM. Halle and Pauer) was admirably played and a voices (solo)-were encored and, like “Sound an alarm,' repeated. To

genuine treat-just as it was in 1859, on one of the first “Mendelssohn conclude, it the performance was not unexceptionable, it offered too

Nights," when originally introduced at the Monday Popular Concerts many good points not to warrant strong encouragement and very con

by Messrs. Benedict and Lindsay Sloper Touching this charming siderable praise. Mr. Martin announces The Vessiah for next Monday,

| piece more will be found in another column. The trio which brought wlth Mr. Sims Reeves as tenor.-- Times, Dec. 12.

the concert to an end was Beethoven's gorgeous Op. 97, in B flat-the Horace VERNET.— The Emperor of the French on hearing of the

“Rodolphe Trio," as The Athenxum styles it (executants, Hallé, relapse of M. Horace Vernet, sent to the illustrious painter, with an

Joachim and Piatti). This great work—the sixth and last of autograph letter, the insignia of Grand Officer of the Legion of Honour.

Beethoven's pianoforte trios—was dedicated by the composer to the M. Horace Vernet has received the last sacraments at the hands of the

Archduke Rodolphe, upon whom he conferred so many similar Curate of St. Germain des Prés, and has bidden farewell to all his

favours, and among others the sonata in G, for pianoforte and violin, friends who surrounded his bed of suffering.

Op. 96, the work which immediately preceded the Trio in B flat (as Dexsery v. THERIC.— The Imperial Court has just given judgment

the Lieder-Kreis, Op. 98 -- dedicated to Prince Lobkowitz, Duke of on an appeal from a decision of the Paris Tribunal of Commerce, in

Raudnitz, to whom, so many years previously, the first six quartets, which M. Dennery, manager of the St. James's Theatre in London,

Op. 18, had been inscribed-immediately followed it) in the order of was plaintiff, and Madernoiselle Théric, the actress, defendant. In 1861

publication. It was produced shortly after the 7th and 8th symphonies M. Dennery engaged Mademoiselle Théric to play at his theatre from

(about 1814-15), preceded the 9th Symphony, the later sonatas, the the 20th of May to the 31st of July, and it was stipulated that she

Nass in D, and the last five quartets, and is one of the brightest and should not take part in any private theatrical performance without his

most splendid examples of Beethoven's so-called “ Second Period," at consent. Having been requested to play in Alfred de Musset's Caprice

its zenith.

The singers were Miss Banks and Mr. Santlev. The former gave with M. Fechter at Lady Molegworth's, on the 20th of July, Malle. Théric informed M. Dennery of the fact, and asked his permission,

| Glinka's “ Sleep, thou infint angel," in the first part, and in the second, which, as she was not wanted at the theatre on that day, was readily

two Lieder" Who is Sylvia ? ” and “Hark, hark, the lark"-rightly granted, and she accordingly accepted Lady Molesworth's proposal.

described as "two of Schubert's most genuine musical illustrations of M. Dennery, however, changed his mind two days before the perform

| the poetry of Shakspeare." Mr. Santley gave - The Colleen Bawn” ance was to take place, and gave Malle. Théric formal notice that she

(Lily of Killarney), and “ The Bellringer"-Benedict and Wallace. must not play. Malle. Théric replied that she had accepted the engage

Both lady and gentleman sang their best. ment on the faith of his promise, and that she would fulfil it, whatever

The ninth and finale concert of the ante-Christmas series took place the consequences might be, and she did so. M. Dennery then com

on Monday night. Among other attractions there was Mr. Sims menced proceedings against her before the Paris Tribunal of Commerce,

Reeves, whose classical singing has had so marked an influence on the demanding 5,000f. damages, but the demand was rejected with costs,

success of these entertainments from their earliest institution, and who on the ground that Malle. Thérie was justified in playing at Lady

was received, as he invariably is, with enthusiasm. It was also the last Molesworth's by the verbal permission which the plaintill had given.

appearance of Herr Joachim, whose engagement at the Hanoverian M. Dennery now appealed against that decision, and the Court, after

Court has necessitated his immediate departure from England. The hearing counsel, confirmed it purely and simply.

quartet and solo-playing of this gentleman have been the chief Molla. TITIENS and Sio. Givolini have been “starring" at Edin

topics in musical circles since the concerts were resumed in October; burgh. Such a brouhaha was probably never known in stifly moral and

and his performances of Bach's violin selos--to speak of nothing elseteratologically particular “Auld Reekie.” The North Briton is in

have given a special tone to the season. That they will be remembered convulsions. Nevertheless, Mr. and Mrs. Wyndham * have not to

with delight and anxiously looked forward to again in the summer of complain of bad houses. Chi sta col lovo impara a urlar.

* Of which both Messrs. Ashdown and Parry and Messrs. R. Cocks and * Manager and Manageress of the Queen's Tlicatre.

I Co. bave published translations.

1863 may be concluded without reserve. Herr Joachim, having created sort, more especially at this busy time. But Mr. Landor Mr. J. a new and universal taste for the music of Bach, has imposed upon Russell (to whichever of the two we are indebted for this musical himself the honourable duty of standing forth as modern champion to feast)—was lavish in providing for the gratification of his patrons. the greatest and most profound of the elder German masters. He is a Polish pianist of the bravura” school, M. Frederic Boscovitch now Bach's apostle no less than Beethoven's, and, happily, quite equal by name, at three different intervals, gave no less than seven of his to the task of representing both with dignity. The other players | own compositions — “Songs of Sirens,” “ Prières," " Mameluke in the quartet were MM. Ries, H. Webb and Piatti ; the other singer dances,” “ Amazons' Marches," &c.,—which he played con amore wag Madame Florence Lancia ; the pianist, Mr. Charles Hallé. We and to the evident satisfaction of his hearers, who recalled him append the programme, which yielded in interest to none of its 111 | at the end of the first “ service." Better (far better), M. Sainton, the precursors :

genuine “ Emperor " of French violinists, played one of his own adPART I.

mirable fantasias in his own admirable manner, and (which was the Quartet in D Minor (strings)

Schubert.

inost extraordinary display of the evening) a duet for violin and doublePriere et Barcarolle (l'Etoile du Nord

... Meyerbeer. “ Stars of the summer night"

bass, with Signor Bottesini-incomparable master of the last-named, in " I know thou dost love me"

Molique.

most other hands, ungrateful instrument (that is, of course, away froin Sonata in A fiat, Op. 39, for pianoforte alone ... ... Weber

its proper place in the orchestra). This duet from the pen of Signor PART II.

Bottesini himself is an extremely clever, ingenious, and effective comSelections from Sonata, in B minor, for violin alone ... Bach,

position, exhibiting to eminent advantage the capabilities of both instruSong, “ The Message" The Message " . .. ... ... ... Blumenthal. "" "" ... Blumenthal.

ments, and revealing a talent for combination which belongs only to Song, The merry Flower Girl" ""

G. A. Osborne. Sonata, in A, dedicated to Kreutzer, for Piano and violin Beethoven.

the highest musicianship. The execution on either hand was really Conductor ... ... ... Mr. Benedict.

wonderful, the surprise and delight of the audience being manifested There was not a flaw in the entire performance. No more perfect in repeated bursts of applause and a loud “recall " for the performers. quartet-playing than that of Schubert's “ D minor” (the inost imagin

Notwithstanding his lond absence it was clear that Signor Bottesini had ative and admirable, perhaps, of all his instrumental compositions) has

not been forgotten. When we left there was still more music, both been listened to, even at the Monday Popular Concerts; Mr. Halló has vocal and instrumental, to follow ; but enough has been said to give never displayed more consummate ability than in the romantic and

soine idea of the varied attractions of the programme. The accompagtruly beautiful sonata of Weber: Mr Sims Reeves threw a world of ists were Messrs. Land, Hargitt, O. Williams, and Bottesini. feeling into the graceful songs of Herr Molique (from a set of six,

The second concert took place on Thursday afternoon, and began dedicated to himself), and was compelled to repeat M. Blumenthal's

with a selection from Beethoven, which included the canon (quartet) pretty“ Message ;” and Herr Joachim in the “ Sarabande" and from Fidelio; the violion romance in F (played to perfection by u. * Bourrée," from Bach's second solo sonata, produced the accustomed Sainton); “In questa tonuba" (extremely well suited to the voice of extraordinary sensation. Being, as a matter of course, unanimously

Malle. Marie Čruvelli); the "Savoyard" and “ The stolen kiss" called upon to produce some other movement froin the same source,

(which Mr. Sims Reeves has made famous at the Monday Popular Herr Joachim did so with the heartiest goodwill. About to take leave for

Concerts, and in which Mr. Swift by no means unworthily emulated so long a period of one of the most thoroughly musical audiences before

his preposterous contemporary); an air to Italian words, " Dimme ben whoin he had probably everappeared, the gifted Hungarian violinist played

mio," which fell upon Mdme. Gassier; and the Moonlight Sonata, upon as though he felt it, and created an impression not easy to be effaced.

which M. Boscovitch fell diagonally. The Pesthian pianist is less at Madame Lancia, too, seemed inspired by the occasion, imparting more home in Beethoven, although it was his second appearance in London, than ordinary expression to the prayer and barcarole from Meyerbeer's

and at his first he was styled wrongly, it would appear, Polish instead opera, and more than ordinary spirit to Mr. Osborne's lively little song.

of Pesthian. The second part comprises another fantasia for the About the “ Kreutzer" duet of Beethoven-the executants being MM. | double-bass (Sonnambula--the night before it was Lucia), miraculously llallé and Joachim -- we need say no more than that it was the cul. | manipulated by Signor Bottesini, who was recalled; a German song iniiating point of one of the most stirring and exciting concerts ever

(von Schaffer), attributed to Herr Hermanns, whose voice has occaheld in St. James's Hall. The crowd was so enorinous that several sionally the Formesian tone; some pianoforte solos by M. Boscovitch, hundreds of persons were sent away for whom it was impossible to find

composed by M. Boscovitch, who was more at home in Boscovitch; even standing room; and, though the rows of stalls were very con

Lieders Le Dessauer and Schubert attributed to Malle. Cruvelli; the siderably increased in number, the extra chairs, placed in every direction, drinking song from Jacbeth, to Mume. Gassier; the “ Carnaval de to accoinmodate late comers, almost choked up the avenues. And this,

Venise" on the double-bass, “ by desire," and Signor Bottesini. The too, at a concert exclusively devoted to quartets, sonatas, and solo songs,

accompaniments were as on the preceding evening. the 112th in the space of little more than three years!

The third and last concert took place on the same evening with a The Monday Popular Concerts are to be resumed on the 12th of miscellaneous programme. The same singers and players took part, January, 1863.

with the exception of M. Boscavitch (who was at home). The pianist never was one of a more serious cast, namely, Herr Ernst Pauer, who,

united with M. Sainton, gave a superb performance of the Kreutzer HANOVER SQUARE ROOMS.

Sonata, and played two graceful pieces of his own (“La Cascade" and A well-known entrepreneur, Mr. J. Russell, has advertised for some “Galop de Concert") in most brilliant style. M. Sainton also charmed day's past a series of three iniscellaneous concerts in the Hanover the audience with his capital fantasia or airs from Rigoletto ; Sigaror Square Rooms-the first of which took place on Wednesday night. Bottesini gave another of his wonderful solos, and (by desire) his dret The programme was on this occasion just of that character most for violin and double-bass was repeated. Mdlle. Corbari appeared for likely to attract the visitors to London at this particular period, and the sccond time, and made as favorable an impression as before with the singers and players were numerous and strong enough to give it the Cavatini from Maria de Rohan; while to the singers we have due effect. The direction being vested in Mr. Land was a sufficient already named were allotted a well-varied selection of pieces fnm guarantee that the entertainment would be excellent of its kind; and Italian and German composers, which were all executed more or less by no means its least agreeable features were two familiar glees by to the satisfaction of the audience. Horsley and Webbe, in the first of which (encored) Mr. Land was Such varied attraction as these concerts presented, would, one migti associated with Messrs. Baxter, Cumming, and Winn; in the second, have thought, have drawn more nuinerous audiences to the elegant by the same gentlemen, with the addition of Miss Wells. The solo rooms in Hanover Square. Fingers included Madame Gassier, so long famed as a vocalist of the florid and brilliant type; Malle. Marie Cruvelli, the contralto, whose Concerts OF NATIONAL MELODIES.— The concert given on Thursday-improvement in voice, style, and execution was noted last season at a consequence of the success of the preceding concert-attracted eren more than one concert in Exeter Hall and elsewhere; Herr Hermanns, / a larger audience, in spite of the very indifferent state of the weather whose loud-toned “bass" has on several occasions, at Her Majesty's | The addition of Mr. Sims Reeves's name, we may presume, made all Theatre, given sonority to the sepulchral music of the Commendatore; the difference. The programme was, so to speak, milder and brief-1 Mr. Swift, one of our most genuine English tenors, with a voice that than the former, and the Irish element was not so much in excess. Jr. alone should make his fortune; and last, not least, Malle. Amelia Reeves, we need hardly say, was the special feature. He gave ly Corbari, known and esteemed by all frequenters of the Royal Italian | own, my guiding star," "My pretty Jane," and, with the chorus Opera, and who now by her thoroughly artistic rendering of the great | Purcell's ** Come, if you dare." He was in splendid voice, and are soprano scene from Der Freischutz showed herself mistress of a style with immense effect, all his pieces being encored. He, however, ons for which she had not previously obtained credit. To each of these consented to repeat the song from Robin Hood. Miss Banks was errored Mr. Swift suffering from hoarseness, excepted-was allotted a solo air; in the old ballad “On the banks of Allan Water," and bliss Palmer ie two or three concerted pieces being also set down in which their Terence's Farewell": – both well sung. The choir were mori respective talents were combined. The vocal music, unacccompanied applauded in the “ Blue bells of Scotland" (arranged by Neithard: by anything else, would have made a capital entertainment of the 1 "The Minstrel Boy," (with accompaniments of the twenty harps), ale

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" Rule Britannia," the first two being enthusiastically redemanded. THE MUSICAL SOCIETY OF LONDON, FIFTH Mr. Aptommas was encored in his harp fantasia on Scotch Melodies, 1 (SEASON, 1863.-Tickets and Reserved Seat Vouchers for 1863 are now ready when he played his Welsh Solo “ Ar Hyd y nos." These concerts for delivery to Members, by Messrs. CRAXER & Co., No. 201 Regent Street, where appear to have strong fascinations for a certain class of the public, and,

Prospectuses and tho Scheme for 1863 may be had.

CHARLES SALAMAN, Hon. Sec., with a little more care and judgment in the management, promise to St. James's Hall.

36 Baker-street, Portman-square. restore themselves into a special attraction.

TNGLISH OPERA ASSOCIATION (LIMITED).

V Application for Shares should be made forthwith. Forms and prospectuses EGYPTIAN HALL.

and every information may be obtained at the Company's Office, 69, Regent Street

and at all the principal musicsellers in town and country. The large room in which the late Mr. Albert Smith so often recorded

MARTIN CAWOOD, Secretary. his Ascent of Mont Blanc has been restored to brilliant condition by Mr. Edmund Yates, who has opened it for a new entertainment, given by TNSTRUCTIONS ON THE GUITAR, GERMAN himself and Mr. Harold Power. Under the superintendence of Mr. W. 1 LANGUAGE, and SINGING, are given by an eminent Professor of Music, at Beverley the portion of the room occupied by the audience has been present settled in London, attending Pupils at their own Residences. For Cards of transformed into the semblance of a spacious conservatory, profusely

Address and Terms, apply to Messrs. Boosey and Sons, Holles Street, Oxford Strect. adorned with artificial flowers. A servant in livery attends to direct the visitors to their places, and every detail in the arrangement is ASHDOWN & PARRY (successors to Wessel & Co.) marked by an appearance of elegance and comfort. The stage remains A beg to inform the Profession that they forward Parcels on Sale upon receipt o in its former place, and has been furnished by Mr. W. Beverley with |

references in town. Returns to be made at Midsummer and Christmas.

Their Catalogues, which contain a great variety of Music calculated for teaching two beautiful scenes, one representing a drawing-room and the other a

purposes, may be had, post-free, on application. sea-side view with moveable billows, respectively illustrating the two

London : 18 Hanover Square.
sections of the entertainment, which goes by the general name, “ Mr.
Yates's Invitations."
The first section of the entertainment is entitled the Evening Party.

NEW SONG. Mr. Yates, who appears in propria persona, is awaiting the arrival of his "THE FACTORY GIRL." guests, and is soon joined by Mr. Harold Power, with whom a discussion ensues as to the sort of recreation which is to be provided. Next arrive

By FRANCIS NORMAN, with Illustrated Title. several musical amateurs, Dr. Dobell Dee, Baron Yödell, and Mr. D.

Published for the benefit of the Lancashire Fund, price 3s. . Tweedle; but these are all outshone by a Mr. Goodrych, strong in the

(Post free for 18 stamps.) possession of an " ut de poitrine.” In spite of his transcendant genius

Pearson and Son, Publishers, 36, Bishopsgate Within, E.C. Dr. Goodrych is interrupted by Jack Bagot, a professed “ funny" vocalist, who sings a description of " London Society.” What is called A NEW MORNING SERVICE, in G., by R. R. Ross . " A quiet evening with a little music,” being thus illustrated, Mr. Yates A Score 58. : Vocal Parts, 9d each verse. proceeds to the description of the' “ Regular Evening Party," and The Introit, Kyries, and Nicene Creed, may be had separately. Score, 2s. ; Voca recounts a contest between Paterfamilias and the female members of Parts, 4d. each. his household, the latter of whom are resolved on giving an evening

London : Novello and Co. Manchester : Home and ADDISON. party, while the former is strongly opposed to everything of the sort. The ladies are triumphant, and the festivity takes place. Prominent

A SONG FOR CHRISTMAS. among the guests are Miss Ferrers, the belle of the ball, and a bashful

“TH E CH R I S T M A S RO SE.'' young gentleman, avd the arrival of a number of theatrical notables

T Composed by W. LOVELL PHILLIPS. Poetry by Miss M. A. STOD ART.

Price 25. Gd. allows Mr. Power an opportunity of displaying his imitative talent.

London: Duncan Davison and Co., 244 Regent Street, W. Jack Bagot, the funny man, again makes his appearance, and the evening terminates with a song about “ London Bandits" of the present

MR. CHARLES BALL'S SONGS. day. In the second portion of the entertainment, which is entitled the

' :CLOUDS O’ERSHADE THE OPENING “ Sea-side,” Messrs. Yates and Power are supposed to retire to an

FLOWER. For Baritone or Contralto. 28. imaginary watering place, and don a costume suitable to the sands. DOWS OF THE PAST. For Tenor or Soprano. Their emigration gives occasion for a description of two doctors of

2s. 6d. opposite schools, one of the bluff, grumpy type associated with the

LINGERING LIGHT. For Soprano or Tenor. memory of Abernethy; the other, the mincing, insinuating gentleman, who is supposed to be particularly adapted to ladies and children.

25. “A charming ballad." Jack Bagot, of facetious celebrity, and Miss Ferrers, the beauty, and E EVENING BREEZE. For Tenor or Soprano. the bashful young man are shown under the influence of sea breezes,

28. “A melody graceful, flowing, and expressive." and a song entitled “ Bubbles of the Day" concludes the whole. The

ADDISON and Lucas, 210 Regent Street. verbal description of the several personages is greatly enlivened by an admirable series of sketches by Messrs. John Leech, Frith, and Marcus Stone, and are exhibited in a portfolio.

ROBERT COCKS & CO.'S The labours of Mr. Edmund Yates and Mr. Harold Power are , generally so divided that the task of impersonating and describing falls LIST OF MUSICAL PRES to the lot of the former, while the songs are awarded to the latter.

GRATIS AND POST FREE. This division is not strictly followed throughout, for Mr. Harold Power

No other House in Europe can offer so larse a collection of valuable Musical Works

at once suitable for presents and invaluable to Students and Professors of Music and delivers part of the lecture. He shines most in his comic songs and

Amateurs. No library can be made up without careful consultation of this unique imitations, while Mr. Yates is a finished illustrator of life and character, List, which contains works as remarkable for elegance of appearance as for intrinsic firmly adhering to the principle of Mr. Albert Smith, in presenting excellence. various types of character to his audience without becoining an actor. HAMILTON'S MODERN INSTRUCTIONS FOR There is no change of dress, save from the costumc of an evening party PIANO. 357th Edition, 4s. to that of the sea-side ; but the various personages are vividly shown, “Great pains were evidently bestowed in the production of this work by Mr. and it is doubtful whether Mr. Yates deserves most praise for the

Hamilton, whose indefatigable exertions resultert in giving to the inusical world one literary composition of his entertainment, or his skill in embodying his

of the best elementary works ever published. To all who will make use of it, it will

prove invaluable; for it will facilitate the pupil's progress, and relieve the teacher of own creations,

much labour."-Vide Christian News, October 23.

PIANOFORTES. “A good instrument is a valuable desideratum, and Messrs. Cocks and Co. of New Burlington Street have conferred a boon on the public in the production of tho Universal Piano. The price is only £25, and is quite a marvel of cheapness, combined with excellence of quality. It may be had in rosewood, or walnut case, with ogee fall, silk front, and full fret, at the above moderate price. This is worthy of

consideration by all who are contemplating making a purchase. -Yide Christian PRIZE MEDAL FOR BOOSEY & SONS' MILITARY Herald, October 10.

BAND INSTRUMENTS, CORNETS, &c.-BOOSEY & Sons have much pleasure in announcing that these instruments have received the Prize Medal of the - London : Published by ROBERT Cocks and Co., New Burlington Street, where International Exhibition. An Illustrated Catalogue may be obtained upon application the Hanover Square Rooms may be engaged. To be bad of all Musicsellers and to the manufacturers, BOOSET & Sons, 24, Holles Stroot, w..

| Booksellers."

COFNIS.

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Advertisements.

TOSEPH GODDARD'S PHILOSOPHY OF MUSIC.

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NEW OPERA.

Now ready. Price 55..

“In conclusion, this book is well worth perusing systematically from beginning to LOVE'S TRIUMPH, end. It is a contribution to a class of literature which numbers very few specimens.

We have plenty of books in which the authors treat of composers, sigers, and mass. IN THREE ACTS.

cians, but very few in which music itself is made the subject."--Literary Budget. THE LIBRETTO BY J. R. PLANCHÉ.

Booser and Sons, Holles Street. The Music Composed by W. Vincent Wallace.

E COMIC SONGS in BOOSEY'S MUSICAL CABI. PRICE TWO GUINEAS.

1 NET, No. 64. All with Pianoforte Acoompaniments. Price One Shilling. admirable book for the present Season.

Boosey and Sons, Holles-street.
ACT I.
No.

Price
Overturo

REELS, JIGS, STRATHSPEYS, and every 1. Introduction and Chorus, “ Hither, hither, hasten all

description of Country Dance, in BOOSEY'S MUSICAL CABINET, 2. Duet, “My poor young friend." Two Tenors

No. 65. Price One Shilling. . Romana, “ Though all too poor. Tenor

Boosey and Sons, Holles Street. 3a. Romanza (Trongposed) 4. Chorus and Solo, “Long life to her Highness." Soprano ... 5. Ballet, “ Romanesca"

OSEY'S MUSICAL ALMANACK for 1863. 6. Trio, " A simple Cymon." Soprano and two Tenors

is now ready, and contains 7. Quartet and Chorus, “ Mount and away." Soprano, Contralto, and two

A SONG BY BALFE. Tenors ... ... 8. Aria, “ Patience! prudence !" Tenor ...

• A SONG BY CHARLES MACKAY. 9. Air, “Wayward fortune." Bass

A QUADRILLE BY MUSGRAVE. 10. Finale, “Help, help!"

A VALSE BY LAURENT.
ACT II.

A POLKA BY MONTAGNE.

Price Threepence. Post free Fourpence. 101. Introduction ... 11. Rondo, “I'm a model page." Contralto

Boosey & Sons, Holles Street. 12. Trio, “ Welcome, welcome." Contralto and two Basses ... -. 13. Grand Scena," rank thou hast thy shackles." Soprano 13a. Air from Scena, “Now, 'tis not a vision, Soprano ...

ROOSEY’S SIX CHRISTMAS CAROLS, price 14. Duet. “As in a dream I wander." Soprano and Tenor

Sixpence: BOOSEY'S SIX CHRISTMAS SONGS, price Sixpence. With 15. Finale, “ We are glad to see" (Complete)

Piano Accompaniments. • 15a, Part Song, “Corin for Cleora dying "...

Boosey and Sons, Holles-street.
ACT III.

CHRISTMAS EDITION of the MESSIAH.16. Introduction and Air, “I have brought my daughter." Bass 17. Ballad, “Those withered flowers." Soprano ... ...

... 26

BOOSEY & SONS beg to announce that, regarding Handel's chey d'ent! 18. Duo, “To the secret." Soprano and Tenor ... .

... 4 0 | as the most appropriate musical work that could be selected as a gift for Christmas, 19. Ballad, “Lovely, loving, and beloved." Bass

they have prepared a Fery beautiful edition expressly for the present season. It is 19a. Ballad (Transposed)

printed on fine-toned paper, royal 4to (the size of Mendelssohn's Songs without 20. Sestetto, “In mystery shrouded " Soprano, Contralto, Tenor, and three Words"), and contains an interesting Memoir of Handel, and a Portrait copied fruti Basses ...

the painting at Windsor. It is very superbly bound, gilt edges, price 7s.6d. As a 21. Recit, and Air, “ Night, love, is creeping." Tenor

prize, a more suitable volume could not be found. 21a. Air (Transposed) ... ...

Boosey & Sons, Holles Street. 22." Duet, “ Hear me, I must speak.”Soprano and Tenor . 23. Finale, “All to the ball " ... ... * Separate Vocal Parts are published.

THE ST. JAMES'S ALBUM for 1863. Messrs.

BOOSEY and SONS beg to announce the publication of this superb Album,

which, for variety of contents, beauty of Illustrations, and richness of hinding, is PIANOFORTE ARRANGEMENTS.

quite unequalled by any other annual ever published. The contributors to the Favourite Airs from Wallace's Opera, Lore's Triumph, arranged by W. H.

“ St. James's Album" are M. W. Balfo, Brinley Richards, W. Kuhe, Henry Smart, Callcott, in Two Books; Solos 5s., Duets

Laurent, Claribel, Musgrave, Berger, Wagner, Elliott, and Gollnick. The IllusFlute Accompaniment to each Book ...

... 10

trations are by Brandard, Packer, W. Boosey, Concannen, and Lee. “The 56 Berger (Francesco), Fantasia ... ...

James's Album" is now ready, prico one guinea, post-free.
Glover (Charles W.,)“ Night, love, is creeping"

BOOBEY & Sons, Holles Street.
Gems of the Opera
Osborne (G.A.), Fantasia .
Richards (B.), "Those withered flowers"

DOOSEY'S GUINEA BEETHOVEN.-Now Ready, in - Fantasia

one volume, superbly bound in half morocco, gilt edges, price 21s., Bose & Schulthes (Wilhelm), Romanesca

Sons' new and complete edition of Beethoven's 32 Sonatas, for the Pianoforte, edited Intermezzo

by W. Dorrell, with Biography by G. A. Macfarren, and l'ortrait by Lynch. Trekell (J. Theodore), Fantasia

4 0

The Daily Neus says:-"There is not one edition (English, German, and Preoch) "Lovely, loving, and beloved

30 that we have seen from which, taking all things into account, correctness, clearners, “Night, love, is creeping" ...

30

elegance, and price, we have derived so much satisfaction as the edition before us." Quadrille, “ Love's Triumph," arranged by C. Coote (Illustrated)

4 0
Valse,
ditto

ditto
(Illustrated

Boosey & Sons, Holles Street.
Galop,
ditto

ditto
(Illustrated)

4 0 The Page Polka, ditto

ditto
(Illustrated)

3 0 THE BALL-ROOM MUSIC-BOOK, price 4s., superbly Grand Selection for Military Band, by C. Godfrey, Senr. ... ..

15 0

I bound, gilt edges, contains 40 Polkas, 60 Valses, 10 Galops, 2 Varsoviasas, 2 Other Arrangements in the Press.

Schottisches, and 12 complete Sets of Quadrilles.

Boosey and Sons, IIolles-street. ADDISON AND LUCAS, 210 REGENT STREET, W.

MHE DRAWING-ROOM MUSIC-BOOK, price 4s., MR. CHARLES BALL'S NEW SONG,

| handsomely bound, contains 31 Morceaux de Salon by Ascher, Cramer, Talexy, MY MARY OF THE CURLING HAIR. For Tenor

duc, Drey'shock, Goria, Commettant, Rosellen, Barclarzewska, &c. V or Soprano. Price 3s.

Boosky and Sons, Holles-street.
London: ADDISON and LUCAR, 210, Regent Street,
Where may be had all Mr. Charles Ball's songs, &c.

MHE CHRISTY'S MINSTRELS' SONG-BOOK, price

88., superbly bound, gilt edges, containing 120 Songs, with Choruses and Piano VOLUNTARIES for the ORGAN or HARMONIUM,

companiments. Or in two vols., 43. each. V Book I., by Joux Harrison, Organist of St. Andrews's Church, Deal.

Boosey & Sons, Holles Street.
Price 3s.
London: Novello and Co., Dean Street.

THE SCHOOL-ROOM MUSIC-BOOK, price 4s., in

1 green cloth, gilt edges, contains 54 Pieces for Pianoforte and 28 Songs. All TENRY SMART'S 50 PRELUDES and INTER- suitable for the youngest performers. I LUDES for the Organ. Price 2s. 6d. in cl. An entirely new and original work.

Boosey and Sons, Holles Street.
BOOSEY & Sons, Holles Street.

THE STANDARD ENGLISH SONG-BOOK, MHE HOUSEHOLD BOOK OF PSALM TUNES,

published this day, price 4s., superbly bound, gilt edges, contains 59 stau ar HYMNS. and CHANTS, price ls. in cloth, coutains 50 Psalm and Hymn Songs by Drs. Arne, Shield, Carey, Linley, Dibdin, Purcell, &c. All with Pianoforte Tunes for Four Voices, Organ or Piano, and 50 Single and Double Chants. Post Accompaniments. This collection comprises all the most celebrated songs in 3 free, ls. 4d.

English language.
Boosey and Sons, Holles Street.

Boogey and Sons, Holles Street.

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